Painter. She was an American artist of the 19th century, who painted portraits along with still lifes, and landscapes. Born the daughter of American classical music composer, Francis Boott, she and her father relocated to Italy after the death of her mother and an infant brother. She was not even two-years-old when her mother died from tuberculous. With her mother's family being fairly wealthy, she was her mother's heir. Her father's goal was to have her educated in the best schools. After the American Civil War in 1865, she and her father returned to Boston. She was enrolled in William Morris Hunt's art classes for women and traveled to Paris for three summers to study art, studying under Thomas Couture. In 1879, she and her father traveled to Munich, Germany where she enrolled in classes under Kentucky-born artist, Frank Duveneck. The two became romantically involved, becoming engaged to marry Duveneck in 1881 but broke the engagement at least once. She became physical ill with the first break of the engagement. During this time in 1882, she held her first exhibition of scenes of Spain and Italy painted in thirty-one oils and thirteen watercolors at Boston at J. Eastman Chase's Gallery, which followed with more exhibits including at the National Gallery of Design in New York City and with the Philadelphia Society of Artists. By 1885 the couple were engaged again. At the Paris Salon of 1886, she exhibited two paintings, one a still life, the other a portrait of her father in a white suit seated on a green lawn. Her protective father had a legal prenuptial agreement made to have him continue to be in control of his daughter's wealth and for the money to revert back to her family instead of her husband in the event of her death. The bride was almost forty years old. On March 25, 1886 in her father's apartment in Paris, she married Duveneck, had a month honeymoon, and the couple had a son at the end of the year. The responsibility of being a mother consumed time from her painting and the social time spent with her husband and artist colleagues. The earlier prenuptial agreement was rescinded by her father at the birth of her son. The couple, her father, and closed artist friends resided in the 15th century Villa Castellani in her adopted hometown of Florence, Italy. She helped to establish art classes for female students. Both she and her husband entered the 1888 Paris Salon competition. She entered a watercolor of the Villa Castellani, while her husband had painted, with her modeling for hours, a full view of her wearing her brown wedding dress. This painting of her is on exhibition in the 21st century at the Cincinnati Art Museum. Shortly after the competition, she had a chill and within four days, she died of pneumonia. Brokenhearted over her sudden death, her husband and son returned to the United States the following year. As a widower, her husband's work declined and he became withdrawn. Her son was placed in the care of her mother's younger half-brother and his stable Massachusetts home. Her husband lived nearby and made time, especially in the summer to spend with his son. American sculptor and her husband's colleague, Clement John Barnhorn, created in 1890 her grave site memorial effigy, showing her asleep with her head resting on a pillow and wearing a flowing regal robe and adorned with palm branches. Pleased with this sculpture, her father requested a marble version to be created and be exhibited in the Boston Museum of Fine Arts for her American friends and family. Giving much insight into her life, the 1995 essay, "Frank Duveneck & Elizabeth Boott Duveneck: An American Romance," was written by Carol M. Osborne to be used in a catalogue for an exhibition of the two artists' work in 1996 at Owen Gallery in New York City. Her family's friend and novelist James Henry authored the 1881 "The Portrait of a Lady," which has a plot very similar to her life.